Working through it!

Well, with a little vacation from the clay, some encouragement from my husband, and a new texturing tool (very low-grit-- 36-- sandpaper of the "plastic-coated" type), I'm working through the problem I wrote about last time. It's going to take a few more steps to see how the final product looks, and I'm still not positive that it's as good as it could possibly be... but I hate to keep the poor customer waiting forever, and I need to get this thing off my "to do" list!

Once I have this thing thoroughly under control and get started on a few other orders, I can finally devote a little time to some other things I've been wanting to try but "couldn't". (I've felt that-- even though I was at the point that I didn't know what to do next on that project-- I couldn't allow myself to work on anything else, clay-wise, until it was crossed off my list. (sigh))

In a non-clay-related note, my youngest sister graduates from high school tomorrow night! Wow. I still can't believe that my ten-years-younger sister is eighteen!! Don't even want to think about what that reveals about my own age... ;o)

Running into a brick wall...

I feel like I've run into a brick wall on one of my latest commissions. I've tried just about everything I can think of, and it still isn't looking the way I want it to look! The first try turned out looking like a stone. (And it wasn't supposed to, obviously. (g))

What makes it even more frustrating is that I was sure this would be relatively easy-- or at least that the tricky part would come later in the process. But no, here I am back at square one for what feels like the umpteenth time.

I really don't want to admit defeat-- disappoint a customer and myself-- so I'm going to take a little break and then give it yet another try. But at some point, I may have no choice but to concede that things just aren't working out.

I think part of the problem is that this item is more or less life-size, and this is a departure for me, as I've just now become accustomed to working in miniature. Also, it might be that I'm giving up on some of my ideas too quickly. Sometimes it takes just one or two more steps for things to pull together. You can't really get a feeling for the complete effect if you're only a third of the way through the process... That said, I don't want to go all the way through several different methods, only to end up with a collection of unattractive polymer clay "stones". ;o)

Well, enough of the pep-talk... or maybe this has been more like moaning and groaning. ;o)

Baking mini cookies and generally keeping busy...

I spent part of this morning fixing up a "moderately huge" batch of ultra-mini cookie charms. I like to put a little something extra in the packages I send out, but sometimes I'm at a loss as to what to include. I mean, these things do take time to make. (g) So I decided to try and make up a whole bunch of little extras all at once. It still takes time, but it certainly helps to do them all at once-- almost an assembly line! ;o)

I've been keeping busy with various and sundry tasks-- including starting the book review section of PolymerClayWeb, working on a new tutorial for the same, and taking a couple of exciting (to me, at least) new custom orders. (I'll be sure to write about them once they're done-- sooner or later.) Then there are other things-- Mother's Day coming up, as well as my youngest sister's birthday and high school graduation-- all happening within a three-day period!

If I can make myself take the time to do it, I'm planning on putting an entry into this month's PCAGOE (Polymer Clay Artists Guild of Etsy) contest. The theme is multi-media, and it just so happens that the new tutorial I've been writing incorporates a couple of different media with polymer clay. The only bad part is that this project doesn't seem to photograph very well. Anyway, it's just for fun; if I do enter, this will be my very first polymer clay contest. :o)

Ok, "real life" is calling, in the form of the spaghetti supper that I'm supposed to be starting now. ;o) Hope everyone's having a pleasant beginning of May!

A mini feast (for the eyes) ;o)

I'm definitely in a "mini phase"-- meaning, not a phase of short duration, but a phase in which I'm obsessed with miniatures. (g) I'm sure I'll eventually move on-- or back-- to something else, but for now, I'm revelling in the minis!

So-- some of what I've been doing lately:

I've made two types of "sunny-side-up" fried eggs--

One more fragile type for post-back earrings:

And one sturdier type for "dangly" earrings:

I made some non-jewelry mini biscotti (dipped in chocolate) for the same great lady who suggested that I make Pop-Tarts:

Then I finally got around to making the ice cream sandwiches I've been thinking about for a while. (I haven't had an ice cream sandwich in a long time, but making these made me hungry for one!)

I think I made the waffle before I made the ice cream sandwiches, actually... So far, I've only made one. Next time, I think I'll make the pat of butter a bit less translucent-- but in some ways, I like it like this... I want to make pancakes, too, but when I played around with it the first time, I wasn't happy with the results. I think I have a better idea, now. Who would think that a pancake would be harder to do than a waffle?! (Well, in clay, I mean.)

My last "big" experiment was a mini hamburger. It took me a while to make-- partially because I was figuring it out as I went along, but also because there are so many components to a burger, compared to most of the other minis I've made.

There are things I can do to improve the realism of this piece-- with the lettuce and tomato, in particular-- but if you're making things to sell, you can only put so much time and work into something before you have to charge more than anyone's willing to pay for a "cute little pendant".

Anyway, for a first try, I was pretty pleased with my mini burger, if I do say so myself! ;o) Now I'm looking forward to trying it again-- maybe a double cheese burger next time-- and I also have some ideas for hot dogs... :o)

And of course I'm still making a cupcake now and then:

I've been working on "glittery" cupcakes, with glittered icing. I like the looks of glitter, but it's such a pain to work with-- especially at the clay table. If you don't clean up every little speck of it (which is, let's face it, nearly impossible to do), you'll be finding glitter in your clay where you didn't want it. (You can do the glitter work away from the table, but if you aren't careful, you'll still end up bringing it back to the clay, on your hands.) The other thing I hate about glitter is how hard it is to get it stick well enough to the clay that it won't just brush off later-- and getting it thick enough. You almost have to seal it (meanwhile being very careful not to contaminate your sealant bottle with glitter, in the process) and apply it in multiple layers.

Ugh! Glitter!! I'll be happy when the glitter cupcakes are done! (g)

Fortunately, not many mini foods require glitter. ;o)

It's not polymer clay, but I love it!

I'm going to make a brief break with the usual subject matter of this blog (polymer clay, as if there could possibly be doubt (g)) to comment on something that is still "generally" related, as it pertains to art.

If you have time, take a moment to admire the beautifully tinted, cheerfully drawn work of Geninne, a freelance illustrator/designer. A few mintues looking through her gorgeous (mostly watercolor, I think) illustrations always makes me happy. I just love her style! (She also makes lovely things from felt and other materials, from time to time.)

Another art blog I'm fond of (but that hasn't been updated in rather a while) is Val Webb's studio journal. Her sketch journal pages (like Geninne's) are wonderful. :o) She works with raku ceramics, acrylics, and who knows what else. Lots of fun to browse.

And finally-- one last "artsy link". The Pants Press Sketchblog is a LiveJournal community in which a group of artists (each with his or her own personal style, as you might imagine) posts his/her latest work or sketches. Some of it is done in more of a modern comics/graphic-novel style (I guess you'd call it); others feel delightfully vintage to me. Always interesting to see what's been added.

I'm sure there are many more blogs/lj communities out there similar to these, but these are the few I've happened across and liked well enough to keep in my "lazy day browsing" bookmark list. If you'd like to share one of your favorite art blog links in the comment section, please feel free to do so! :o)

"Transferred" to a whole new world!

Image transfers are one of those "messy" subjects-- one of those things you hope a newbie never asks you to explain. ;o) Not because you're hoarding away your secrets, but because, well, there are so many different ways to do it, and it seems that there's just a little bit of magic involved in each of them. One person swears by this method, while another warns you that said method has never, ever worked for her. Nearly all explanations of the various processes conclude with "you just have to play around with it until you find a technique that works for you".

(That's true of many techniques, actually, but maybe more so than usual with image transfers.)

I've dabbled in image transfers once before-- but only enough to get the very tips of my fingers in the water. I used the T-shirt paper method, in which you use your home inkjet printer to print an image onto T-shirt paper-- the type that you can use to make iron-ons for T-shirts. You then emboss the print-out (image side down) onto a sheet of clay (usually white) and cure the clay for a short period of time. You peel the paper away, and ideally, you're left with a transferred image. (That's the method I used to make these key chains.)

Well, today I finally got around to playing with my new Kato Liquid, which can also be used to make image transfers.

(The Kato Liquid has been "new" since my birthday, back in February. Haven't I mentioned before that I have a problem with procrastinating? I have several other things I want to try with the Kato Liquid, too, so maybe now that I've started, I'll keep going!)

Because Kato Liquid (aka Kato Sauce) is clearer than TLS, it is generally favored for use with image transfers, but both can be used-- as can Fimo Decorating Gel, I'm sure. I'm fairly certain there are a number of ways to use Liquid Kato for transfers. The way I chose was this: Choose a picture/illustration/whatever from a glossy-paged magazine or catalog. (I used a catalog. More on that in a minute.) Trim the piece from the magazine. Apply a thin layer of the liquid clay to the side of the paper bearing the image you want to copy. Smooth it out evenly, trying to avoid bubbles as you go. Pop it into a pre-heated 275-degree (F) oven for... well, the bottle didn't give instructions. Since it was such a thin layer (and would be re-cured, later), I didn't figure it needed too long, but I try to cure for "a good long time", so I left it in for 10 minutes. (I also used an aluminum foil tent, as always.) To get optimal clarity-- if you're using Liquid Kato-- hit the clay side with a heat gun until all cloudiness disappears. (This took longer than I expected, and I was beginning to think that I'd just put on too much clay, but then it suddenly began to clear, and wow, what a difference that made!) Allow it to cool, then soak in water for a while. Gently rub away the paper. Admire the results. ;o)

I'm not sure if I got all the paper off my transfer, yet, so I'm re-soaking it, just to be sure, but I think I got most of it. Here's a photo of my first try, looking down through the liquid clay. (The other side is a big messier to look at, which leads me to think that I haven't gotten all the paper off yet.)

The photo's not that great-- reflections from water on top of it-- and there are a few bubbles that I missed-- but hey, for a first try, I have to say that I'm very impressed with this technique! It was so quick and easy! And now I have a permanent copy of this picture, which I've admired since I first saw it. (It's the "autumniness" of it. I'm one of those annoying "autumn people" who have never gotten over the obligatory adolescent obsession with fall. (g))

The drawback would be that if you're using a magazine photo, you can only make one transfer of each photo. Also, there are some copyright issues you'll have to look into, if you're making things to sell. But if you're just playing around, this seems like a super-easy way to go.

A couple of things I love about the possibilities this technique presents-- the "decal" (the image transfer on the liquid clay) is so flexible that it could very easily be applied to something rounded. (The other method I described would make image transfers to curved objects more problematic.) It would also be simple to trim the decal down to any shape you want. You could probably even cut through it with decorative edging scissors!

If you're like me, you're always finding beautiful images in magazines-- things that you'd love to save and use, somehow, so that you could see them again and again-- but you can only use so much stuff for decoupage or pages in your "inspiration journals". It might not be practical to make image transfers of huge pictures, but this is definitely a simple way to make pendants, charms, key chains-- whatever-- from your favorite smaller "borrowed" images.

Now I just have to figure out what to do with these things-- how best to turn them into jewelry and such-- so I can make more of them! ;o)

On a tangent-- If you don't get a lot of magazines-- or if you don't want to cut up your magazines-- don't forget catalogs. There are lots of them available for free. Try searching the Internet. (For instance, there's this page.) Now, of course I'm not encouraging you to order catalogs if you have no intention whatsoever of making a purchase, because that would be unethical and would kill trees and the fairies and elves that live amongst them... ;o) But what you decide on your own to do is up to you. (g)

• Catalogs for clothing and furniture sometimes have pretty photos of fabric swatches.
• Those that sell home decor often have interesting objects or motifs decorating the objects.
• Wedding invitation catalogs have script-style fonts (if you want text) and details like floral/romantic illustrations and (photos of) embossed patterns.
• Travel brochures and kits that you can request on-line will include beautiful landscape photos-- and maybe even maps.
• Post stamp catalogs have great photos of-- you guessed it!-- postage stamps!
• Don't foget about the glossy sales papers and circulars you get in the mail. Give them a look-through before automatically tossing them.
• Other glossy papers-- like old calendars-- can also be used for this purpose. If you have the stomach for it (some can't bear even the thought of it), you could probably also use pages from illustrated books, if the pages are glossy.

So, I'm going to have to give this some more thought and try to turn my "autumn decal" into something useful...

ETA:
After posting this, I learned a couple more things about this transfer technique and thought I ought to pass them along.

1. You know the side of the transfer that was "a bit messier to look at"? It was mainly "messier" because parts of it were still covered with a slight film of white. So I went back and started scratching it off with a fingernail. It came off, alright, but (a bit too late) I noticed that my scratching was also removing the colors of the transfer! So don't do that! (g) In future, I'll just be happy to use the non-messy side!

2. After realizing that I was scratching away the transfer, I placed the still-wet decal transfer-side down on a scrap envelope. (It was a piece of junkmail with a slightly glossy-textured envelope, in case the type of paper might make some difference.) It dried there, and a day or two later, I came back for it, peeled it off the envelope, and saw that still more color had been left behind on the envelope! I don't know how much-- if it's enough to be visibly missing on the transfer-- but the color left behind on the envelope was obvious enough. So that's another no-no. Don't place your transfer "inked"-side down on something-- especially if it's wet.

I'm thinking, now, that it's best if you just gently rub-- don't scratch!-- away the paper, let it dry with the transferred side up, not touching anything else (or gently dab it dry it with a cloth)-- and use it ASAP, preferably sealing the delicate side with clay, glue, glass--whatever. I'll give it another try one of these days.

Studio Friday - Wrath and Envy

Since I missed last week's Studio Friday topic, I thought I'd squeeze them both in this week. (No pictures this time, though. Sorry!)

Last week's topic was Wrath.
I will admit that I have a bit of a temper, and sometimes-- when I'm working with something tiny or fiddly-- I can get annoyed with the situation. And there may be the occasional pitching of a fit. ;o) When I feel the frustration growing, I try to give myself a break-- stop myself from getting to the point that I want to scream and punch walls. (g)

Top 5 Causes of Wrath in a Clayer's Studio ;o) --

1. Burnt or scorched clay
2. Bubbles in the Varathane (or your sealant of choice)
3. Lint and hairs in the clay
4. Fingerprints!! everywhere!!!
5. Unplanned plaquing

This week's topic is Envy:
"What do you desire that you are lacking and someone else has? If you could have it would you really want it or is it just a notion? How come you want to have it? What can you do to still that desire so that there is no need to be envious of any thing or anybody?"

Hm... Some of these topics seem to repeat themselves, for me-- particularly lust, greed, and envy. They're more distinct in the "real life"/"whole life" manifestations of these sins, I think, but as they apply to art and the studio, they run together...

Yes, I sometimes envy the things I see that others have-- very lovely, well-organized studios, maybe... well-stocked cabinets and drawers of materials (though I really ought to be ashamed of that, considering how much "stuff" I've already accumulated!)... recognition, success... superior imagination or skill.

I try not to waste too much energy thinking about what I don't or can't have, but sometimes I catch myself doing it without even realizing it. I think it's only human nature to be intrigued by and to desire what we don't possess, but after a while, we should come to realize that it's not worth our precious time to be eaten up by envy. "The grass is always greener on the other side", and while I'm envying someone else's skill, there may be another person envying me. (And meanwhile, the person I'm sick with envy over is probably envying yet another person.)

So many of these sins seem to lead me back to the idea that we shouldn't waste our time and the materials, opportunities, and skills we do possess by pining after things that we either can't have or simply don't have yet. I hope that I can be happy with what I do have and make the most of it.

Back from a break :o)

I'm finally catching up on my on-line life again, after a brief break. (Can we still call it a break if it was prompted by a surge of activity in other areas of life? Wishful thinking, maybe...)

While I was "away" from blogging (and Flickr, etc.), I had a brush with greatness. ;o) This blog (and my pop-tarts... and the collection of links to video clips) was featured on Cynthia Tinapple's Polymer Clay Daily. How flattering!

I do intend to get back into the groove of more regular "real" posts, but for now, the unglamorous sinkful of dishes is calling. So I'll just save everything else for tomorrow.

Texture sheets on the cheap

While browsing a copy of Sarajane Helm's Create a Polymer Clay Impression, I found this nifty tip:

Use plastic placemats as texture sheets to texture polymer clay!

You know the kind-- those "fake lace" plastic placemats-- usually in white or ecru? Well, they would make great lacy textures on clay. They're so sturdy-- yet flexible and thin-- that they'd work great for clay. You could even cut them into strips to fit through the pasta machine! Similar plastic table cloths should work, too, but they're usually not as stiff/thick as the placemats.

In a similar vein, I suppose you could use plastic "doilies" to make lacy textures on clay, too-- though, because those have actual holes, they might be a bit messier to use than the placemats. You can always use a scrap of real lace, as well, but again, there's more potential for mess than with a plastic surface that can be wiped clean.

So now I need to be on the look-out for some cheap plastic placemats... ;o) I bet that's the kind of thing you can pick up for almost nothing at yard sales. Or if you know someone who uses them, just ask if she'll let you have her old ones when she buys a new set. Even if they're torn, there's probably still a perfectly good portion of the pattern big enough to use with clay.

Instructional video clips

I can usually follow a written technique fairly well, but I always prefer tutorials/lessons with lots of clear photographs. If the photos are good enough, you sometimes don't even have to read the instructions! (Not that I'd recommend that, of course. You never know when the author might place a crucial bit of information or a time-saving hint in amongst the directions.)

So if photos are great, then moving pictures must be even better, right? ;o)

For those who prefer to see a technique demonstrated from start to finish, but who don't have access to a polymer clay class, there are instructional videos and DVDs available. Many can be easily ordered on-line. Now, they're not cheap, but if you learn best by seeing the process in real time and hearing instructions, rather than reading them, a DVD might be worth the money.

Before you place an order, you might want to check the following places:

First, see if your local library system has any instructional videos or DVDs. If not, ask your librarian about interlibrary loans. You may be able to request DVDs from other libraries-- sometimes for a a small fee, sometimes for free. (In this case, it will be helpful if you know the titles of the videos or DVDs you want to borrow.)

Second, check to see if your area has a polymer clay guild. Most guilds charge an annual membership fee, but once you're a member, you'll have access to meetings with other polymer clay enthusiasts and a good source of information about opportunities to attend classes and participate in clay-related competitions and events. If the guild has a library of materials (you can ask before joining), you'll also be able to borrow these. (For example, here's a list of the Chicago Area Polymer Clay Guild's library contents and loan policies.)

Whether or not you're considering buying a video/DVD, there are a few clips available for free on-line. They're a good way to see if you're really interested in purchasing the DVD, and they provide some useful information in and off themselves. The ones I link to below are of a very decent length.

Here are a few available on MindStorm Production's website:

Assorted clay techniques:
Dotty McMillan makes pottery shard jewelry.
Donna Kato demonstrates marbled paper effect.
Donna Kato makes a flower cane.
Donna Kato creates a carved vessel.
Gwen Gibson creates a faux enamel pin.
Marie Segal demonstrates faux metal surface embellishments.
Marie Segal makes a sunflower cane.
Marie Segal creates a signature cane.
Lindly Haunani demonstrates her version of mokume gane.
Nan Roche demonstrates her loop-in-loop technique for necklaces.
Sue Heaser creates a gilded leaf pin.
Jody Bishel creates a butterfly pin.
Margene Crossan creates an embarrassed face.
Margene Crossan makes pants and a shirt for a boy.

Miniatures:
Lavonne Hoivik sculpts a miniature crocus.
Sue Heaser makes a miniature vase and jug.
Sue Heaser makes a miniature raspberry meringue dessert.

Children's techniques:
Kris Richards sculpts a bear.
Kris Richards demonstrates how to decorate with stamps.

There are also four video clips available here: http://www.polymerclayexpress.com/video_clips.html
These clips include the following:
--Terry Lee Czechowski demonstrating how to make a pillow pin.
--Gwen Gibson demonstrating how to use texture sheets with clay and how to treat the resultant textured clay with paint.
--Gwen Gibson demonstrating how to make an ultra-thin sheet of translucent clay and how to silk screen onto clay.
--Mari O'Dell demonstrating stamping clay and back-filling the stamped image with tinted liquid clay.

There are also a few clay-related clips from the on-line tutorials taken from Judy Belcher's segments on Beads, Baubles and Jewels:
Striped Polymer Charm Bracelet with Memory Wire
Tessellated Pendant
Stamped Mokume Gane Pendant
Filigree Purse with Polymer Clay Leaf Canes

Finally, if you're interested in video tutorials, you'll want to do a search, every so often, through the on-line video sites, such as http://video.google.com/ and http://www.youtube.com/.

Searching for "polymer clay" on these sites, today, I came up with the following interesting clips:
Polymer Clay Babies, by Debbie Garrity
Sculpting a Pig, by Wvclaylady
Silkscreen on Polymer Clay, by Daphne Hill
Color Scales in Polymer Clay, by Maggie Maggio
Sculpting a Torso in Polymer Clay, by Megan
How to Use Face Push Molds, by Maureen Carlson
DragonflyLane, videos by Christie Wright
Sculpting a Hand, by Aidamaris Roman

So, there you have it-- enough free video clips to get anyone inspired to make something with clay! ;o)

When it rains, it pours!!

And right now, it's pouring polymer clay mini-sweets-- a real gullywasher!

I've had two new "as is" orders from my Etsy shop since this morning, and I'm in the process of filling no fewer than five custom orders, too-- three of them multiple-item orders!

(Ok, anyone who makes a real living from this type of thing-- should s/he happen by some strange chance to ever read this-- is probably laughing at my naive amazement, now, but we all have to start somewhere, right? For a little something on the side, I don't think it's too bad.)

I absolutely forbid myself to say anything that might remotely be interpreted as a complaint ;o) -- but, that said, I can see how this stuff can become confusing! (g)

I had a small panic just a moment ago while trying to figure out who wanted the blueberry pop-tart pendant with the strawberry pop-tart earrings (no missing bites). I was getting that order confused with another order for strawberry pop-tart earrings (one missing bite). Seriously, I had no idea how many people love Pop-Tarts. ;o)

This is all very exciting, of course, for someone who's never really sold anything she made herself, until a few weeks ago. I'm thinking that once the rush is past, I'll celebrate by treating myself to a book or two. What's the book about, you ask? (Go ahead, ask, so I don't look quite so foolish.) Polymer clay! What a shocker, huh? ;o) I'm going to justify it by calling it an investment in "the business"-- R&D, you know. (g)

Well, better enjoy it while it lasts. I'm sure there will be slower times ahead. But for the moment, it's fun to be a bit hectic.

Studio Friday - Sloth

This week's Studio Friday continues the series of topics drawn from the Seven Deadly Sins.

How do you fail to utilize your gift and talents? How do you feel at those moments? Are you unwilling to act? Is it that you are afraid? What is really going on? How can a few simple steps change you? What do you need for that happen?

My "illustration" for this week's topic is an empty chair-- the chair at my clay table, which many times stands empty when it ought to be filled.

(It should really look a bit more forlorn, but flash lighting and the aqua paint don't help when one tries to create an atmosphere of dejection. (g))
I have a bad habit of procrastinating-- one that I feel ties in well with this topic. There are so many times and areas of my life in which I tend to put things off. It's usually because I'm afraid of doing them wrong-- or at least not as well as I feel I could do them, were I properly prepared.

I have ideas I put off and put off. I have plans that I never put into action. I have products that remain unused because... I guess I'm waiting for the "perfect time" to use them to present itself.
I don't think there's anything wrong with wanting to do things well and sometimes saving something special until you're better able to use it. (If you're learning to sew, you probably want to practice on cheap cotton before cutting into your best piece of silk, for instance.) The problem comes when we-- when I-- put off so many things for so long that I'm essentially paralysed by fear of taking a wrong step.

The planets don't have to be perfectly aligned. I don't need a Sign to tell me that I'm finally "ready". I just need to accept the fact that I will make mistakes-- and so what? The fate of the world doesn't hinge on my success. (Thank goodness!) Sometimes there is no perfect time. You just have to do the best you can at the moment. There's always next time to do it a bit better. Seize the day, and all that sort of thing. ;o)

This applies to many aspects of my life, including my creative pursuits. Of course, like most good advice, it's easier to give than to implement!

As for changing... (apart from just trying to tell myself regularly that I should worry less and create more)... I've heard people suggest that you touch the clay at least once a day. Just the act of kneading it can be enough to get you past your "artist's block" or whatever else is plaguing you. Like most things, just taking that first step is more than half the battle won. (Also, once you've gotten your hands "dirty"-- or sticky, at least-- you might as well make something. Why have sticky hands for nothing? (g)) I'm not sure how likely I am to touch the clay every single day. Sometimes you need a break. But I do usually at least look over my clay table once a day-- see what I've done, what's in process, and all the little colorful scraps of clay sitting on the tiles. Looking over things and planning new projects is also an important part of the creative process.

Writing this blog and working on my shop at Etsy both help keep me active with the clay, too, I find. I don't list something new every single day, as many recommend, but I do try to list at least every two or three days. Going through the listing process-- and writing here every few days-- keeps the subject in my mind.

That said, I have work to do! Off to the clay table to see if my scented cupcakes (a new product for me) still have their scent after curing...

Fimo's suggested curing temp. has changed!

I'm more of a Premo gal, myself, but I do have some Fimo in my stock (mostly the translucent that's supposed to be prone to plaquing, for use in faux stone), and maybe someone who reads this will find the information helpful...

Fimo has officially changed its recommended baking/curing temperature-- lowered it from 265° F to 230° F! That's a pretty drastic change! Fimo has always suggested a slightly lower temperature than some other clays, but before, the difference was only 10° F. Now there's a whopping 45° F difference.

This new recommendation is showing up on the newest packages of Fimo. Apparently, the company is indicating that this is an energy-saving issue that they took into consideration when planning the formula for the new recipe of Fimo Soft, which hit the shelves last year.

However, the word is that even older packages of Fimo-- those that don't bear the "new and improved" labelling with the temp. change-- should also be cured at 230° F. (Well, I know they "can" be, but I'm not sure if they go so far as to say that you "should" use the lower temperature...) All types of Fimo brand clay can/should? be cured at the new temperature, including Fimo Classic and Puppen Fimo.

It's a bit confusing, somehow, and disorienting... One of the Great Truths of Polymer Clay-- that different brands can be "mixed and matched" at will-- has been shaken, if not collapsed. Because... if I mix some of my Fimo translucent with some of my Premo violet, for instance, I'll have to decide what temperature to cure it at. Before, I would've set it to 275° F and never thought twice. Now... I'm just not sure! Maybe 275° F is too high. Will it scorch the Fimo? Weaken it? But then what about the Premo component? Will it cure properly if it doesn't get the higher temps?

(...holds head in both hands, rocks back and forth, and mumbles incoherently...) ;o)

Ok, so I'm dramatizing things a bit. (g) It is one more thing to keep in mind.

If you want to read more about this, here's a link to Crafty Goat's blog post on the subject. She has a link to an e-mail conversation between Garie (a polymer clay teacher and artist) and the company that manufactures Fimo brands of clay.

You never know what mind-blowing event will take place next in the ever-evolving world of polymer clay! ;o)

Studio Friday - Greed

From Studio Friday:

Part III of the new SF mini series looked at from an artist's perspective in a different angle and light: "The Seven Deadly Sins":

This week's topic for Friday April 6th: Sin #2: GREED!

This is an ugly one as well....uuuuh! What is it you are greedy about or feel greedy about? Is it material or is it a behavior? Are you greedy for emotions? Do you hoard? How do you want to change for the better? It can be small steps or do you rather take a big step to change?

I suppose I am greedy about materials. I don't buy craft supplies with the intention of just hoarding them. I buy them to use them (though I can be stingy with my favorite supplies, not wanting them to run out)... But I do find that no matter how many supplies I get, I can always think of something more I'd like to have, and I guess that qualifies as greed.

Whether it's beautiful beads...

...or gorgeous findings...

...or inks, stamps, and glitter...

...I want it all! ;o)

Of course, I don't buy it all. So I'm not completely awful, am I? (g)

Like many people, I sometimes feel greedy for the praise and admiration of others-- for some sort of recognition or success. However, any time my work does get noticed, I tend to flee the scene and avoid reading the feedback! Guess I'm just weird. ;o)

As for changing things-- I can change my spending habits by avoiding places where I have the opportunity to buy craft supplies. (It's not really a problem, as it is. I mean, it's not like I'm going into debt or something. ;o) But it would still be good for me to focus more on using the materials I have rather than daydreaming about what I might do with the materials I don't have.)

And I don't think the desire for praise is too much of a problem, either, but to prevent it from becoming one, I can focus more on the joy I get from the actual process of working on my projects. If I'm happy with something, I shouldn't worry too much about having others confirm my own feelings. :o)

Pop-Tarts in miniature...

Last week I got my first-ever request for a custom order at my Etsy shop. :o) I was a little bit nervous about it, at first, since the person wanted something I'd never tried before-- miniature Pop-Tarts-- but it turned out pretty well, I think. The customer is wonderfully friendly, and she seemed happy with the pop-tarts, at least (and isn't that what really matters, anyway?). She's even thinking about requesting more custom work, down the road, so I count the whole experience as a success! :o)

Here are a few more photos of the mini pop-tarts...

My first effort, white frosting with colorful sprinkles:

Next up, "chocolate" frosting with white sprinkles:

And a different view of the three together, including the last of the set, with pink frosting and colorful sprinkles:

After I finished making that order, I played around with a couple more ideas for the mini pop-tarts. First, I made a couple of smaller ones with wire loops, so they could be charms or pendants. (The originals were each about an inch long and had no wire loops, as the customer wanted to turn them into magnets.) Then I tried making a slightly larger one (about 1 and 1/4 inch long) to turn into a brooch. That's this one:

I need to make myself try something new more often. I mean, it's not a huge stretch from my sugar cookies to these pop-tarts, but it's still one more thing I can add to my repertoire. Now I just need to figure out what the next small step should be... ;o) I've been wanting to try hamburgers, so maybe later in the week I'll give that a go. The worst I can do is make a little scrap clay, right?

Studio Friday - Gluttony (and Lust)

I missed last week's Studio Friday, so I thought I'd catch up by doing two in one, today. I'll start with the more recent of the two. Tine is leading us through a series of prompts based on "The Seven Deadly Sins", and this week's sin is gluttony. Here's the prompt:

"What do you overindulge in during your days in your studio while creating? Food or drink? How bad is it and how bad is it for you? How are you planning on changing it?"

Since I work with polymer clay, my hands tend to be sticky when I'm in my craft room. Either that, or I'm wearing gloves. In either case, eating isn't easy, so I actually eat less when I'm working with the clay! I don't often drink in there, either, though I have been known to take a can of Dr. Pepper with me, if I'm very thirsty.

Tangent: Outside of the clay room, my guilty indulgences include Dr. Pepper, junk food, and sweets. I love pizza, ice cream, and candy... and Little Debbie snack cakes... and chips and popcorn. I do eat more candy/sweets and drink more soda than I ought to, probably. But I've got my cola-consumption down to one a day-- most days-- and I think that's about as good as it's gonna get! ;o) As for the candy and other sweets... Well, if they're in the house, I'm going to eat them, so I guess I'll have to stop buying them. :o( I like healthier snacks, too-- like fruit-- but if I have a less healthy option, I'm sorely tempted.

Depending on my mood, I may overindulge in talk radio or music (80s and 90s pop, Enya-esque, techno/dance, hammered dulcimer, Pink Floyd, The Wailin' Jennys-- my tastes are varied). That qualifies as gluttony of the ears, I guess? ;o)

The talk radio can sometimes be bad for me, as it can put me in a bad mood if I get too much of it-- but in limited doses, it's stimulating. As for the music, how could Enya or 80s pop ever be bad? ;o) Ok, after a while, I get tired of even my favorite music, so I switch CDs often and sometimes work in silence.

...Come to think of it, maybe I'm also a glutton for fake, miniature foods, since that's a large part of what I make, these days. I made these mini Pop-Tarts as a custom order just yesterday, and the cupcakes came out of the oven this afternoon.

Now for last week's topic:

"What do you desire? What feeds your passion and excessive love? Do you listen to your heart's desires or not? What happens if you do, what happens if you don't?"

Usually, my response would be a loud "New supplies!" (such as the alcohol inks pictured above), but since it's not long since my birthday, and since my husband totally over-did it and spoiled me with gifts ;o), and since I still have some of those gifts (new supplies among them) untried, un-played-with-- I really can't give that answer. I'm sure the day will come again when I'll be making a wishlist, but for now I don't really need much... in the way of clay supplies...

...but come to think of it... I actually have been making a wishlist of jewelry supplies. (blush) So that's the materialistic side of my "lust". I've been thinking of cabochon mounts (to use with the resin-making supplies waiting in the craft room)... ring blanks (or whatever you'd call 'em) to make some cool rings with... maybe some fancy bails to use on pendants instead of the jumprings I've been using... and so on. And I do have one or two new clay books I'd like to at least look through-- but they're not even published yet. (g)

On a different level, I desire to make beautiful or interesting things... to find new techniques that work for me-- that kind of thing.

My passion is fed by the fun I have working with the clay-- the joy I get in writing about and sharing photos of it-- the pride I take in a well-made piece-- and looking at the wonderful things others are doing with it.

I think I always at least listen to my heart's desire, but sometimes I tell it that it'll have to wait-- especially if it's wishing for yet another supply or tool. ;o) Don't feel too sorry for it, though. I indulge it often enough, trust me! (g)

When I do give in, I of course experience a temporary "high". ("Yay, I've got it!"-- whatever "it" happens to be.) Sometimes that high lasts, and I know it was a good decision; sometimes I end up wondering what in the world I was thinking. When I don't give in, I usually am just post-poning the inevitable, but there are times when I realize duing my cooling-off period that it was a good thing I thought it through.

I should probably impose a "cooling-off period" more often!

Texturing Tools and Other "Found" Goodies

I love reading about homemade and "found" tools for use with clay. I love it for a variety of reasons, including the following:

1. It appeals to my thrifty side, for one thing. Less money spent on tools = more money left over to spend on supplies like clay and ink and other fun stuff.
2. Finding a new tool for free is like winning a scavenger's hunt! ;o)
3. I'm inspired by the ingenuity of the people who discovered that such-and-such effect can be made with this, that, or the other.
4. I like the "custom-made" quality of it. (No-one is going to have a tool just like yours, if you've made it yourself! Found objects are almost as unique.)
5. Something about it just brings back that feeling of... "poor-man's wealth", let's call it... that I so enjoyed when I was a child reading books about fairies and other tiny people using common cast-off objects to enrich their lives. A thimble becomes a cup. An empty spool of thread is a perfect sitting stool. And a box of cornflakes can feed the village for a month! (I also loved reading the Little House book with the Christmas pennies and imagining what would happen if I could go back in time and give Laura and Mary a whole dollar each. (g) What? Is it really that weird?)

So when Pookie B asked about what I use to texture my mini cookies, I thought it might be fun to write a post about some of the "around the house" tools I've been using. And if anyone has some others they'd like to suggest-- or a link to a related webpage-- that would be great, too! :o)

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For a fluffy, spongy texture, try pouncing a brush lightly over the clay. (Try pouncing less-than-lightly, too, for a different look.) I've tried a few different brushes-- just what I had handy at my worktable-- but I ought to try a larger variety-- and you should, too. ;o) Different brushes will produce different results. My current favorite brush is an old toothbrush.

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Old toothbrushes are also useful for getting paint into nooks and crannies when you're antiquing something-- or any other time you're trying to get paint into every possible opening.

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For a crackled look, use a small scrap of crumpled paper or aluminum foil. Crumple the paper or foil up, smooth it out again, and press it into the clay. Experiment with different degrees of "crumpledness", different thicknesses of paper, and different degrees of pressure when texturing the clay. Repeated "applications" of the paper/foil to the clay add more and more texture.

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For times when you don't want texture, a piece of thin paper can come in handy. Baking parchment is recommended, but if it's not available, try wax paper or any other paper you have access to. To remove light fingerprints or to soften or remove textures, try placing a piece of the paper over the clay and gently embossing (rubbing) your finger over the paper.

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This bit isn't all about texture, but texture comes into play at the end...

I usually bake my mini cookies on some type of paper. I baked the first one directly on the tile and didn't love the ultra-shiny finish it had on the bottom. (Not that the bottom of the cookie really matters, but still, it was just too smooth, and it bothered me. (g)) So these days I use paper.

Cardboard will work. (I use cardboard salvaged from food packaging. I figure I'll use it as much as possible before adding it to the garbage I throw away.) The only negative with cardboard is that it will bend in the heat of the oven, unless it's weighed down, and I've found that this can lead to slight curves in the lightweight cookies. Not a big deal, but I prefer to avoid it, if I can.

I mostly use baking parchment for the cookies. It doesn't bend as much as the cardboard, so I don't notice it affecting the shape of my cookies. My husband says that the texture on the bottom of the cookies (a result of baking them on the parchment) is just like the texture on the bottom of the real cookies he baked as a child. Now, we never used parchment, so I can't say, but maybe he's right. Clay does have an interesting way of picking up the texture of whatever surface it's baked on. If we remember that, we can use it to some interesting advantages. :o)

Oh, and I imagine you can bake the cookies on just regular paper, too-- but unmarked paper is best, as clay can pick up ink and newsprint if it's left in contact with it.

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Use drinking straws to press or cut circles into clay. Or cut the straws at an angle to make oval- or leaf-shaped cutters. Collect straws from different places so you'll have them in a variety of sizes. I love the tiny straws provided with coffee at fastfood places. The tiny straws that come with "juice packs" (like CapriSun) also work, though they're thicker.

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This isn't strictly a texturing tool, though I have I used it to make some textures... One of my favorite bead reamers (for use on uncured clay) is a thick needle I got in a set of "household-use" type needles. I believe it's a canvas or a sail needle. It's much thicker than a regular sewing needle, and it's blunt, so I don't have to worry about constantly pricking my fingers with it. The whole set of needles was just a dollar (at Dollar Tree, if you happen to have one nearby). I love this needle because it allows me to easily pierce my beads with holes big enough for the thicker stringing material I often use. A knitting needle would also work, but since I don't knit... ;o) A bamboo skewer would also do the trick.

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When making texture sheets, I used a variety of things I found in my "hardware scraps" jars. These included the heads of screws and the tips of wire nuts (those things you use to protect the connection when you screw two electrical wires together). You can find all sorts of textures in a toolbox! Try sandpaper, for instance, for a nice, even texture-- useful for covering fingerprints.

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Another of my favorite texturing tools-- one I use a lot for faux metal and stone-- is a large metal medallion I bought at a sale at Claire's. The necklace itself was, IMHO, hideous. The medallion was about four or five times bigger than anything I'd ever actually wear, but the medallion has a great textured design that transfers easily to clay.

So, while you aren't likely to find the same exact medallion I have, you can still remember to keep clay and textures in mind the next time you're at a sale (or wandering through the junkyard, or rummaging through the attic, or... you get the idea). You can get cool textures for next to nothing! Look at "junk jewelry", children's small toys and trinkets, silverware (for the patterns on the handles), shoes (for the patterns in the treds), speaking of treds-- the tires on toy cars are a great possibility, and the list goes on!

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For more information about texturizing tools, visit Polymer Clay Web's page on texturizers. One of these days, I'll get around to making more pages about texturizers and other found tools. It's on my list-- I promise! ;o) In fact, I'm in the process of writing a section about homemade stamps, which is certainly related to this subject.

At the bottom of that page, I've somehow failed to put any related links, I see. I'll have to remedy that. If there were a list of related links, this one would certainly be on it: Glass Attic: Texturing. Glass Attic is another excellent source for information about all things polymer clay. Sometimes there's so much information that it can be overwhelming, but it's a great place to browse for new ideas.

Latest incarnation of "Crackled Inlay"--

Last Wednesday, I wrote that I was "varnishing" a few pieces done in my latest version of the "Crackled Inlay" technique. I think that a few of them came out very nicely-- so much so that I probably ought to see about putting a photo or two up on the tutorial page, just to show how the alternatives can look. (Honestly, right now I think they look better than any photos I have of the original technique.)

I could probably have done a better job of the photographing, but oh well. For now here are photos of the front and back (or back and front, depending on which side you favor) of my husband's favorite pendant from the batch:

Not absolutely perfect, maybe, but much better than I thought when I first tried cutting the sheet of clay with the metal leaf on it!

One thing I noticed was that some of the colors I used for this project seemed to change during curing. I started with four different shades of tinted translucent clay. (I used alcohol ink-- Adirondack and Pinata brands-- to tint the clay, but colored clay should work, too.) One was yellow, one orange, and the two last were slightly different shades of salmony pink. Now, I wasn't surprised that the pinks turned out to be the same after curing. I'd rather expected that that might happen. What did surprise me was that I could barely tell the difference between the orange and the yellow. The orange looks like a slightly darker gold than the yellow, while the two pinks look orange! It's not really a problem in this case, but it could be annoying under other circumstances.

I'll have to keep an eye on this in the future-- try to notice which ones shift the most and in what "direction", etc. I wonder how much of this is related to the ambering effect that sometimes occurs when you cure translucent clay? I wouldn't have thought that would be an issue in this case, as I used Frost (aka Premo Trans. w/Bleach), which I believe is supposed to reduce yellowing. Anyway-- something to think about for next time.

I still have some of the "metal-leafed" sheets of clay, so I'll probably give this project another try. I'd like to think ahead this time, though, and maybe try something a bit different. I'm not sure what, but I find that if I don't make a conscious effort to try something new, I generally end up falling into the same patterns of size, shape, and decoration style in my beads and pendants. Like anyone, I have my own personal comfort zone, and I naturally gravitate toward it if I'm not taking active measures to reach beyond it.

That said, I have a cold right now, so maybe I can be excused if I cling to what comforts me, these days. ;o)

Delicious mini foods in clay!

If you're as infatuated with miniature foods as I am, you need to visit Iris Mishly's blog. She has a great post with links to several mini-food related websites-- some of which were totally new to me.

It's such fun to admire these wonderfully realistic works of art. :o) I haven't had a chance to go through all of the pages in their entirety, but I've already picked up a tip from one of them. Let me see... Which one was it...?

There.... It was on Betsy Niederer's page of tips and tricks. She writes that instead of using cornmeal or semolina (which I've been looking for off and on, to no avail) to add texture to your mini foods, you should use partially cured and crumbled clay. (The cornmeal and semolina can degrade over time, and as you might imagine, that's not good.) I don't think I would've thought of that on my own, but it makes perfect sense. I can't wait to give it a try!

Also on Betsy Niederer's page-- Go here and just look at those hotdogs and fries. I'd swear they were real if I didn't know better. Her work is stunningly realistic. Of course, it's also meant to be art, so I'm sure it takes a lot of time to do. I also wonder whether or not certain pieces would be "wearable"-- or if they have unsealed chalks and things on them that would rub off if handled too much. Still, it's beautiful just to look at, and I think I'm getting some ideas for how to improve my attempts at mini food jewelry.

Thanks, Iris, for the inspiring links! Just what I needed to jump start my will to "go mini" again! :o)

Studio Friday - Hope

This week's topic at Studio Friday is Hope:

"What gives you hope? How do you keep it up? What or who guides you through the rough patches and makes you keep on going no matter what?"

As far as people go, my husband is the one who buoys me up when my spirit of hopefulness is wearing thin. When I doubt the worth of something I'm doing-- when I begin to think that it's no good-- when I need someone to tell me that everything will be ok-- he's the one I can turn to for support. :o)

I can also count on my parents and my family in general to be supportive of me. That's at least one of the things the members of a family ought to do for one another, when they can-- try to see the best in us and help us to see it, too.

The natural world gives me hope, too. A step outdoors-- a breath of fresh air-- my dogs' eager attentions-- a glimpse of sky (be it sunny or clouded)-- all renew my hope for the future.

Sometimes, it's what I don't do that helps me keep up hope. For instance, there are times when the daily news (or "news", because so often the garbage isn't real news at all, but fabricated nonsense) is just too much. Sometimes the blogs and forums and "lists" I'm on take an emotional toll, making me feel that either I'm no good or the world in general is in tatters. So when I feel one of those moods coming up, I try to "unplug" from the rest of the world for a day or two. As I must sometimes remind myself, life does go on without my seemingly essential presence in these circles. ;o) And after a refreshing "mini-break", I'm usually eager to return to them and see what's happened in my absence.

"Just doing it" helps, too. If I'm worried that what I'm doing isn't working-- isn't good enough-- whatever-- just sitting at my table and making something can renew my interest and re-convince me that, yes, it is worthwhile.

I think so many of our (well, "my", at least) problems could be solved by less thinking/worrying and more doing.